直接电影与中国新纪录运动的纪录精神
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摘要
直接电影作为纪录片的一个流派,起源于20世纪60年代的美国,在特殊的技术和社会政治文化背景下,通过德鲁小组的努力开创了电视纪录片的新形式,发展出了一种经典的纪录片创作方式,形成了不同于同时期的法国真理电影流派的显著特征。直接电影的艺术媒介特征是这个流派特色得以形成的基础。直接电影的创作者总是以谦卑的观察者来开展自己的工作,始终坚守纪录片拍摄的道德底线。直接电影的美学特征是一种具有人文主义内涵的精神追求,他们的创作追求一种对人和社会现实的关怀,力图消除话语霸权,为观众提供多维的解读空间,体现着一种知识分子的身份和立场。除了方法,直接电影更代表着一种纪录精神。20世纪90年代开始的中国新纪录运动在自身的发展实践中和直接电影有了一种不谋而合,通过吸收直接电影的创作方法和美学追求,中国新纪录运动进一步丰富和发展了纪录精神的内涵,使纪录精神得以空前的张扬。这种张扬的背后也潜藏了对形式误读的危险,造成了纪录片栏目的衰落和纪录精神的失落,面临市场化的大潮和数字时代的来临出现了新的迷茫。真实再现、搬演、虚构、娱乐化等等不只是代表纪录片新的手法的出现,更体现了一种纪录精神的失落。直接电影不只是一种客观观察纪录的创作手法,虚构和娱乐化也不应该成为纪录片的主题,由直接电影和中国新纪录运动所代表和发扬的纪录精神才应该是纪录片的本质和主题,这种纪录精神不仅体现于纪录片人的创作过程也体现于其作品。对直接电影和中国新纪录运动的本质——纪录精神的总结和阐述是本文的创新。
当前,纪录片仍然以电视栏目作为其主要传播方式,张扬一种纪录精神对塑造电视精品文化有着重要的意义,也是电视媒体的社会责任感的体现,张扬纪录精神更可以将其作为纪录片创作者的职业精神,特别是在当前技术不断进步,DV更加普及和社会更加开放的背景下,纪录片的理论和实践都出现了一些混乱,纪录片的概念和内涵被曲解甚至虚无化,这种纪录片创作职业精神的确定对纪录片创作规范的建立、对提高纪录片创作者的素质都具有重要的意义。根据新闻专业主义的理念,提出把纪录精神作为纪录片创作的职业精神是本文的创新点。
As a genre of the documentary, Direct Cinema originated from the United States in the 1960s. Under the special technical and socio-political and cultural context, the Direct Cinema developed into a classic way of creating documentary and formed the salient features which distinguished itself from contemporary French school of Cinema Verite through the efforts of the Drew group who has created a new form of television documentary. The features of artistic media of Direct Cinema were the basis of formation of this distinctive school. The creators of Direct Cinema always carried out their work as humble observers, and always adhered to the moral bottom line of documentary films. The aesthetic characteristics of Direct Cinema was a spiritual pursuit of humanistic connotation, and their creations were the pursuit of concerns of humanistic and social reality, which tried to eliminate the discourse of hegemony, to provide the audience with the interpretation of multi-dimensional space and embody a kind of intellectual identity and position. In addition to methods, the Direct Cinema more represented a kind of documentary spirit. Starting from 1990s, China's new documentary movement has coincided with the Direct Cinema in the process of self-development and practice. Through the absorption of the creative methods and aesthetic pursuit of the Direct Cinema, China's new documentary movement further enriched and developed the spirit of the documentary connotation so that the documentary spirit was unprecedentedly publicized. Behind this publicity, the danger of misunderstanding the form of the documentary was lurking, which resulted in the decline of documentary section and the loss of the documentary spirit. Facing the tide of market capitalization and the advent of the digital age, a new confusion emerged. True reproduction, objective reproduction, fiction, entertainment, etc not only represented the emergence of new documentary practices, but also embodied the spirit of a lost documentary spirit. Direct Cinema was not just an objective observation of the creative methods of documentary. Fiction and entertainment should not become the subject of documentaries. The documentary spirit carried forward by the Direct Cinema and China's new documentary movement should be the essence and the theme of the documentary, which were not only reflected in the innovative process of documentary creators, but also were displayed in their works.
At present, for the documentary, television programs remain as its main means of communication and publicize a kind of documentary spirit, which play a significant role in shaping the classic culture of Television. It also embodies a sense of social responsibility for television media, which can also regarded as the spirit of a professional documentary creator. Especially under the current technological advances, the universality of DV and more developed social background, there is some confusion in both documentary film theory and practice. The concept and content of the documentary has been misrepresented or even emptied. Therefore, the determination of this kind of creative and professional documentary spirit plays an important role in establishing a norm of documentary creation and improving the quality of documentary creators.
当前,纪录片仍然以电视栏目作为其主要传播方式,张扬一种纪录精神对塑造电视精品文化有着重要的意义,也是电视媒体的社会责任感的体现,张扬纪录精神更可以将其作为纪录片创作者的职业精神,特别是在当前技术不断进步,DV更加普及和社会更加开放的背景下,纪录片的理论和实践都出现了一些混乱,纪录片的概念和内涵被曲解甚至虚无化,这种纪录片创作职业精神的确定对纪录片创作规范的建立、对提高纪录片创作者的素质都具有重要的意义。根据新闻专业主义的理念,提出把纪录精神作为纪录片创作的职业精神是本文的创新点。
As a genre of the documentary, Direct Cinema originated from the United States in the 1960s. Under the special technical and socio-political and cultural context, the Direct Cinema developed into a classic way of creating documentary and formed the salient features which distinguished itself from contemporary French school of Cinema Verite through the efforts of the Drew group who has created a new form of television documentary. The features of artistic media of Direct Cinema were the basis of formation of this distinctive school. The creators of Direct Cinema always carried out their work as humble observers, and always adhered to the moral bottom line of documentary films. The aesthetic characteristics of Direct Cinema was a spiritual pursuit of humanistic connotation, and their creations were the pursuit of concerns of humanistic and social reality, which tried to eliminate the discourse of hegemony, to provide the audience with the interpretation of multi-dimensional space and embody a kind of intellectual identity and position. In addition to methods, the Direct Cinema more represented a kind of documentary spirit. Starting from 1990s, China's new documentary movement has coincided with the Direct Cinema in the process of self-development and practice. Through the absorption of the creative methods and aesthetic pursuit of the Direct Cinema, China's new documentary movement further enriched and developed the spirit of the documentary connotation so that the documentary spirit was unprecedentedly publicized. Behind this publicity, the danger of misunderstanding the form of the documentary was lurking, which resulted in the decline of documentary section and the loss of the documentary spirit. Facing the tide of market capitalization and the advent of the digital age, a new confusion emerged. True reproduction, objective reproduction, fiction, entertainment, etc not only represented the emergence of new documentary practices, but also embodied the spirit of a lost documentary spirit. Direct Cinema was not just an objective observation of the creative methods of documentary. Fiction and entertainment should not become the subject of documentaries. The documentary spirit carried forward by the Direct Cinema and China's new documentary movement should be the essence and the theme of the documentary, which were not only reflected in the innovative process of documentary creators, but also were displayed in their works.
At present, for the documentary, television programs remain as its main means of communication and publicize a kind of documentary spirit, which play a significant role in shaping the classic culture of Television. It also embodies a sense of social responsibility for television media, which can also regarded as the spirit of a professional documentary creator. Especially under the current technological advances, the universality of DV and more developed social background, there is some confusion in both documentary film theory and practice. The concept and content of the documentary has been misrepresented or even emptied. Therefore, the determination of this kind of creative and professional documentary spirit plays an important role in establishing a norm of documentary creation and improving the quality of documentary creators.
引文
①【美】罗伯特·艾伦:《美国真实电影的早期阶段》,载单万里主编《纪录电影文献》,中国广播电视出版社,2001年版,p91
①张同道、李劲颖,《直接电影是最好的方式》,载《电影艺术》2008年第三期,p127
①黄琳、杨尚鸿,《影视艺术—理论·简史·流派》,重庆大学出版社,2000年版,p4
①【美】弗雷德里克·怀斯曼:《积累式的印象化主观描述》,载单万里主编《纪录电影文献》,中国广播电视出版社,2001年版,p481
①【美】爱德华·w·萨义德著,单德兴译,《知识分子论》,三联书店,2002年版,p35
①鲍晓群,《07-08传媒主张》,学林出版社,2008年版,p192
①张同道、李劲颖,《直接电影是最好的方式》,载《电影艺术》2008年第三期,p127
①吕新雨,《纪录中国-当代中国新纪录运动》,三联书店,2003年版,p300
①【日】小川绅介著,冯艳译,《收割电影-追寻纪录片中至高无上的幸福》,上海人民出版社,2007年版
②同上
①【日】小川绅介著,冯艳译,《收割电影-追寻纪录片中至高无上的幸福》,上海人民出版社,2007年版
Alan Rosenthal.2006.纪录片编导与制作[M].上海:复旦大学出版社
埃里克·巴尔诺.1992.世界电影纪录史[M].北京:中国电影出版社.
贝拉·巴拉兹.1986.电影美学[M].北京:中国电影出版社.
比尔·尼克尔斯.2007.纪录片导论[M].北京:中国电影出版社.
曹恺.2005.纪录与实验:DV影像前史[M].北京:中国人民大学出版社.
陈默.2001.电视文化学[M].北京:北京师范大学出版社.
冯俊.2003.后现代哲学讲演录[M].上海:商务印书馆.
顾铮.2007.现代性的第六张面孔[M].上海:上海人民出版社.
黄琳杨尚鸿.2000.影视艺术—理论·简史·流派[M].重庆:重庆大学出版社.
黄琳.2008.西方电影流派概述[M].重庆:重庆大学出版社.
景秀明.2005.纪录的魔方—纪录片叙事艺术研究[M].北京:文化艺术出版社.
赖黎捷.2007.中国纪录片批评研究[M].成都:四川大学出版社.
李幸刘晓茜汪继芳.2006.被遗忘的影像[M].北京:中国社会科学出版社.
林少雄.2003.多元文化视阈中的纪实影片[M].北京:学林出版社.
林旭东.2002.影视纪录片创作[M].北京:中国广播电视出版社.
梁建增孙克文赵微. 2004.纪事[M].北京:高等教育出版社.
吕新雨.2003.纪录中国:当代中国新纪录运动[M].北京:三联书店.
刘洁.2007.纪录片的虚构:一种影像的表意[M].北京:中国传媒大学出版社.
欧阳宏生.2004.纪录片概论[M].成都:四川大学出版社.
任远.2008.纪录片的理念和与方法[M].北京:中国广播电视出版社.
孙玉胜.2003.十年:从改变电视的语态开始[M].北京:三联书店.
石屹.2000.电视纪录片:艺术、手法与中外观照[M].上海:复旦大学出版社.
单万里.2001.纪录电影文献[M].北京:中国广播电视出版社.
单万里.2007.纪录电影分析[M].北京:中国广播电视出版社.
小川绅介.2007.收割电影—追寻纪录片中至高无上的幸福[M].上海:上海人民出版.
钟大年.1997.纪录片创作论纲[M].北京:北京广播学院出版社.
朱景和.2002.纪录片创作[M].北京:中国人民大学出版社.
电影海报及剧照来源[EB/OL].时光网http://www.mtime.com/
①张同道、李劲颖,《直接电影是最好的方式》,载《电影艺术》2008年第三期,p127
①黄琳、杨尚鸿,《影视艺术—理论·简史·流派》,重庆大学出版社,2000年版,p4
①【美】弗雷德里克·怀斯曼:《积累式的印象化主观描述》,载单万里主编《纪录电影文献》,中国广播电视出版社,2001年版,p481
①【美】爱德华·w·萨义德著,单德兴译,《知识分子论》,三联书店,2002年版,p35
①鲍晓群,《07-08传媒主张》,学林出版社,2008年版,p192
①张同道、李劲颖,《直接电影是最好的方式》,载《电影艺术》2008年第三期,p127
①吕新雨,《纪录中国-当代中国新纪录运动》,三联书店,2003年版,p300
①【日】小川绅介著,冯艳译,《收割电影-追寻纪录片中至高无上的幸福》,上海人民出版社,2007年版
②同上
①【日】小川绅介著,冯艳译,《收割电影-追寻纪录片中至高无上的幸福》,上海人民出版社,2007年版
Alan Rosenthal.2006.纪录片编导与制作[M].上海:复旦大学出版社
埃里克·巴尔诺.1992.世界电影纪录史[M].北京:中国电影出版社.
贝拉·巴拉兹.1986.电影美学[M].北京:中国电影出版社.
比尔·尼克尔斯.2007.纪录片导论[M].北京:中国电影出版社.
曹恺.2005.纪录与实验:DV影像前史[M].北京:中国人民大学出版社.
陈默.2001.电视文化学[M].北京:北京师范大学出版社.
冯俊.2003.后现代哲学讲演录[M].上海:商务印书馆.
顾铮.2007.现代性的第六张面孔[M].上海:上海人民出版社.
黄琳杨尚鸿.2000.影视艺术—理论·简史·流派[M].重庆:重庆大学出版社.
黄琳.2008.西方电影流派概述[M].重庆:重庆大学出版社.
景秀明.2005.纪录的魔方—纪录片叙事艺术研究[M].北京:文化艺术出版社.
赖黎捷.2007.中国纪录片批评研究[M].成都:四川大学出版社.
李幸刘晓茜汪继芳.2006.被遗忘的影像[M].北京:中国社会科学出版社.
林少雄.2003.多元文化视阈中的纪实影片[M].北京:学林出版社.
林旭东.2002.影视纪录片创作[M].北京:中国广播电视出版社.
梁建增孙克文赵微. 2004.纪事[M].北京:高等教育出版社.
吕新雨.2003.纪录中国:当代中国新纪录运动[M].北京:三联书店.
刘洁.2007.纪录片的虚构:一种影像的表意[M].北京:中国传媒大学出版社.
欧阳宏生.2004.纪录片概论[M].成都:四川大学出版社.
任远.2008.纪录片的理念和与方法[M].北京:中国广播电视出版社.
孙玉胜.2003.十年:从改变电视的语态开始[M].北京:三联书店.
石屹.2000.电视纪录片:艺术、手法与中外观照[M].上海:复旦大学出版社.
单万里.2001.纪录电影文献[M].北京:中国广播电视出版社.
单万里.2007.纪录电影分析[M].北京:中国广播电视出版社.
小川绅介.2007.收割电影—追寻纪录片中至高无上的幸福[M].上海:上海人民出版.
钟大年.1997.纪录片创作论纲[M].北京:北京广播学院出版社.
朱景和.2002.纪录片创作[M].北京:中国人民大学出版社.
电影海报及剧照来源[EB/OL].时光网http://www.mtime.com/